"Iconic" must be the most used and abused word in the reviewer’s lexicon - a single in the Top Ten and a slot down the bill at a wannabee Glastonbury festival is enough to secure that sobriquet these days. But Jane Eyre, the novel and the character, is certainly worthy of the descriptor, a lodestar for teenage girls (and, perhaps more quietly, teenage boys) seeking to find their identity and their space in a confusing and hostile world.What sets Charlotte Brontë’s work apart from the countless coming-of-age stories that followed in its wake, is its date of publication (1847, earlier than both David Copperfield and Great Expectations) and the deep psychological insight it provides into a girl’s transformation into a woman. Readers had seen some of that with Elizabeth Bennet in Pride and Prejudice and in Jane Austen’s Emma, but they had much more going for them than this impoverished, damaged, plain Jane. But our girl has a resilience and resourcefulness that leaps across time and fortifies the spirit.That’s the very stuff of musical theatre of course, Jane continually delivering "I Want" songs, so it’s a surprise to learn that this is the first London production of Paul Gordon and John Caird’s show, its roots put down in Bill Clinton’s USA. It then went through various iterations, scaling up for Broadway and down for Cleveland, before fetching up on Southwark Playhouse’s Elephant stage, a house that works perfectly in sustaining its romance and its tension with a reduced cast.Charlie Burn’s Jane is anything but plain, and Ashley Gilmour (both pictured above) goes full unkempt hair, black eyes and heroically unbuttoned shirt as Rochester, the troubled but sexy Lord of the Manor. That’s all a tad unfortunate coming so soon after Margot and Jacob’s Wuthering Heights (social hierarchy albeit gender reversed), but at least Burn looks within a decade of the right age for the role.She is very good indeed, and she needs to be because Emily-Rose Samuel is fantastic as the tween Jane being bullied at school, and proves equally impressive doubling as Adèle, the ward for whom Jane is employed as a governess. It’s not often that you see a child-actor deliver both crucial emotional development and later find laugh after laugh in a wholly new role. Emily-Rose is a name to look out for.Burn and Gilmour also need to be excellent, as the score is somewhat anodyne, lacking a really big 11 o’clock number with most songs sounding like Stephen Sondheim had set them aside for another day.Now there’s plenty of tunes that might not make Sondheim’s cut but will work perfectly well in a musical and we do feel Ben Kubiak’s unseen seven piece orchestra driving the pace of the narrative, especially in a second half that moves more swiftly than the first. “Painting Her Portrait” is a standout. as Jane sits at her desk to paint herself ugly and Rochester’s intended, Blanche (Eve Shanu-Wilson) pretty. She’d need the skills of Picasso to pull off that trick convincingly, but never mind, she’s really only trying to fool herself to ameliorate her (presumed) inevitable rejection.The ensemble cast double and triple parts, and sometimes sing as a chorus, articulating Jane’s thoughts as she is pulled this way and that by love, by duty, by her own insecurity. Hannah Lindsey impresses as Rochester’s mad wife, locked away on the upper floor, catching the pathos as well as the madness in a character that takes Miss Havisham up to 11.The somewhat bare stage, supplemented by a few black and white projections, catches a gothic atmosphere, but our imagination has to do a lot of work on creating the cold rooms, the mysterious staircases and the noises off. So too the fire that is so intrinsic to the plot - a red glow and a smoke machine leaves us somewhat shortchanged.But the heart of the show is the romance between Jane and Rochester and that depends on the burning hot chemistry between the leads. And there is more than enough of that to light up the two hours plus runtime. You’re never in any doubt that they’ll be together, so it’s all very warming watching it happen.Ultimately, I suspect one’s judgement of the evening will depend on whether one has read the novel and is invested in its iconic status. I confess that I haven’t, but its story is strong (the book so often the weak point of a musical). It took me no time at all to be pulling for Jane and her emotional-intelligence stunted paramour, helped, perhaps, by the absence of any casting gimmicks and the old-school fidelity to the source material.Treat it as an opera (it’s largely sung through) and grant to it the allowances we do for that oft-overwrought genre and the show works very well indeed, flaws and all. (Gary Naylor)
This musical adaptation of Jane Eyre (music and lyrics by Paul Gordon, book by John Caird) makes its long-awaited British premiere 30 years after it was first staged. Its Broadway production led to five Tony nominations in 2001. Since then it has been revised, with this chamber version now being produced at Southwark Playhouse Elephant. The show adds a spiritual and operatic layer to Charlotte Brontë’s Gothic romance. [...]Using the cast as narrator/chorus throughout the proceedings adds a warmth that the story may otherwise lack, and the use of the floor space in this venue, with only projections to indicate a change of scene, allows effective blocking and interesting movement from the cast. Choreographer Georgina Lamb, lighting designer James Whiteside, and set/costume designer Morgan Large all add value to the atmosphere.The story is much stronger in the second half, with Jane’s “Painting Her Portrait” adding drama. As the interval comes at a curious point in the narrative, there is a lot of ground to cover thereafter, including “My Hope of Heaven” (the proposal), what really is on the upper floor (a sweet moment between Jane and the mysterious woman lost in her insanity), and the ending, which “tempers judgement with mercy”.With direction by Caird and Megan McGinnis, this production opens out the spiritual themes of the story from the start, opening with the mysterious connection between Rochester and Jane, miles apart. Themes of forgiveness, love, and loss thread through from the death of Jane’s parents through to the eventual reconciliation of the two lovers, joined forever by that string from his rib to hers.Brontë purists will notice a few changes, but they are sympathetic to the original story, while a generous runtime allows scenes often excised in adaptations to be fully explored, such as the fortune-teller. This is not the only musical treatment of Jane Eyre – there have been operas, and even a ballet of the story – but it is perhaps the most sweeping, sentimental, and symbolic. Above the stage, quotations from the novel speak to Jane’s independence, faith, and state of mind, and tree branches suggest the oppressive and mysterious nature of Thornfield.I might question the pacing of the first half, but the performances are uniformly excellent, especially the lead pair and young Samuel, who has a lot of emotionally charged moments as young Jane. This is a fine adaptation that is well worth your time. (Louise Penn)
A Victorian-era, feminist, romantic, and gothic musical set in the moors of Yorkshire. How haunting and intriguing! But… can gothic romance and feminism really coexist in that era? And then, how do you sing about it?Jane Eyre, the musical written by John Caird and Paul Gordon, is based on Charlotte Brontë’s well-known novel, published in 1847. This groundbreaking work, which follows Jane’s life, was at the time one of the first novels to feature a first-person narration, told from a woman’s perspective. In this adaptation, directed by Caird and Megan McGinnis, Jane Eyre’s life story is told with the help of a cast of 12. In it, 10 ensemble members take on various roles throughout the performance to embody over 20 characters, all while sharing the first-person narration and speaking from Jane’s perspective, thus carrying the two leads, Jane (Charlie Burn) and Mr Rochester (Ashley Gilmour), through their romance.Act 1 is a fast-paced medley of short ballads, alternating between full choir formation and short solos. This follows Jane from her childhood (with young Jane played by the brilliantly captivating Emily-Rose Samuel) through a whirlwind of events: losing her parents, being mistreated by her aunt, and being forced to attend an impoverished girls’ school. There, she meets Helen (played with beautiful purity by Isabelle Methven), whose untimely death is a harsh lesson, before she takes on her role as governess at Thornfield Hall for a young Adèle (again played with sassy joy by Samuel) and meets her romantic interest Edward Rochester – a strange, brooding and secretive man.The speed is constant, songs are wordy, and, though the orchestration (Larry Hochman and Brad Haak) is wonderfully nuanced. It leaves little space for spoken text and for full musical numbers, with only Gilmour and Burn’s duet Sirens standing out from the rest.In contrast, Act 2 changes pace completely, and the audience is regaled with a number of fully developed songs, as well as musical reprises from the first act which give the piece more unity. We finally get a chance to savour Burn’s beautiful voice, notably in Painting her Portrait, and enjoy Gilmour’s comically masterful rendition of Dear Sister. Heartfelt scenes of pain and reconciliation between Jane’s family members and Rochester are poignant, yet the contrast in storytelling is almost a disappointment as we lose the narration so present in Act 1.The lack of emphasis on this first-person narration, so key to Brontë’s implicit act of feminism, is unfortunate, and the piece lacks an obvious female voice, making some of the social commentary shallow rather than timeless. This is not helped by the embodiment of the gothic horror through various lacy black costumes, which limit character differentiation, and the use of a background screen, whose images clash with the sombre tone of the piece.Yet, Jane Eyre remains a beautifully poignant and entertaining story with fitting musicality and a playful gothic sobriety reminiscent of other well-loved musicals. It is enjoyable, though not quite yet on par with the greats. (A. Tran Ngoc)
The songs consist of soaring ballads with some lovely orchestrations played by the band, led by Ben Kubiak, which conjure images of the rugged landscape of the North Yorkshire Moors that surround Thornfield Hall. Gordon’s lyrics are inspired by the novel’s themes of longing for love and independence, and the presence of the Christian faith and its role in providing moral conundrums for the characters. However, as the show progresses the songs begin to lose their individuality and their lyrics lack anything especially revelatory. There are a few standouts: ‘Sweet Liberty’; Jane’s “I want” song, beautifully sung by Charlie Burn with clear and bright vocals which portray Jane’s hope for something greater, and ‘Brave Enough to Love’; a rousing conclusion to the show.The cast is wonderfully led by Charlie Burn and Ashley Gilmour as Jane and Rochester. There are certainly a few chuckles when the pair are described as plain when they could be better compared to a Disney Prince and Princess with intense and emotive vocals to match. Gilmour is a suitably broody and enigmatic Rochester and has great chemistry with Burn’s charismatic portrayal of the feminist literary icon. They are supported by an excellent multi-rolling ensemble, however the casting choice for Bertha is perplexing. The ensemble narrates much of Jane’s story, although we do find it a little odd that they do so in first person. There are brief moments of choreography which could have been utilised further to bring additional drama to the piece but there is no shortage of emotion in the ensemble’s harmonious vocals.Jane Eyre is a classic story that has captured generations. Fans of the novel are sure to enjoy this musical production but those looking for a more modern retelling may leave yearning for more. (Sophie Luck)
Jane in adulthood is in the very capable hands of Charlie Burn. She has a very attractive singing voice in the lower part of its register, even if the tone is inclined to spread on higher notes.Ashley Gilmour has terrific stage presence as Rochester and easily commands the stage; he also looks suitably dashing and is a strong singer, even if he is inclined to sound too American. Burn and Gilmour work seamlessly together and almost make one forget that the dialogue they are given seems nothing like as poetic as Brontë’s original!The rest of the hard-working ensemble also impresses, especially Claire Greenway as Grace Poole and Jonathan Andrew Hume in the role of Mason, Rochester’s brother-in-law, demonstrating a very pleasing singing voice. Hannah Lindsey is powerful in the role of Bertha, but is given hardly anything to do; for example, we are barely allowed to see her when she sets Rochester’s bed aflame.There are some strange directorial decisions. For example, although Southwark Elephant has a thrust stage, with the audience on three sides, it seems to have been directed for a proscenium-style auditorium. I was given a seat on one side for Act One but managed to move to one that was forward-facing for the second half and found that I could both see and hear much better! This comment certainly applies to Morgan Large’s set, obviously designed to a limited budget, which does make sense when seen from “straight on” rather than at an angle! It is a shame that grey is the prominent colour as it is inclined to make the whole show quite depressing, especially as nearly everyone wears black!In addition, Brontë’s novel is set in Yorkshire, Lancashire and the Derbyshire Peak District where everyone, rich and poor, would have spoken using regional accents. In the production under review, everyone speaks in what is almost BBC ‘Received Pronunciation’, apart from one or two of the servants occasionally.Some of the elements of the original plot are changed or glossed over but, on the whole, John Caird has done well to reduce the playing time to two and a quarter hours: it does certainly not overstay its welcome! Paul Gordon’s music is a cross between the style of Les Misérables and Sondheim. Much of it seems very slow and lacking in energy, but the whole ensemble gives it the best possible chance, as does the excellent seven-piece orchestra under Ben Kubiak. It is a shame that none of Gordon’s melodies even begin to stick in the memory. By the way, full marks for a change to the excellent sound design of Andrew Johnson who has ensured that the result of his efforts always sounds natural and never too loud: perfect – many thanks!Although I am not sure that a musical about Jane Eyre was really needed, and there is already an opera by Michael Berkeley, I am pleased to have encountered this particular production. (John Groves)
Much like Emerald Fennell’s film of Wuthering Heights, this musical version of another Brontë sister’s literary masterpiece is lovely to look at. Designer Morgan Large’s monochrome palette fashions the women in black corseted dresses with attractive ruffles and delicate mesh detailing. Behind them on a screen, a mist appears to roll over sketches of moorland, graves and barren trees. It’s winningly atmospheric. But also like Fennell’s film, there’s too little beneath the frills in an adaptation (music and lyrics by Paul Gordon, book and additional lyrics by John Caird) that struggles to tap into the substance of Charlotte Brontë’s 1847 novel.Though smart-mouthed and bolshie as a child (played commendably on press night by Emily-Rose Samuel), there’s scant sense of a strong-willed, independent thinker in Charlie Burn’s adult Jane, who under Caird and Megan McGinnis’s direction is as pure and polite as a fairytale princess. Nor is there anything dark or dangerous about Ashley Gilmour’s courteous, too-charming Rochester.The songs dilute the story’s grit and hardship with syrupy sentiment. The overuse of twinkly wind chimes and pop-style scoop notes become musical tics, shifting the dial closer to Disney romance than Victorian gothic. Early numbers The Governess and Forgiveness are particularly cloying. But the better songs – including Jane’s Sweet Liberty and Rochester’s As Good As You – contain hints of Schönberg and Boublil’s Les Misérables (the original UK production of which Caird co-directed). And if the material itself is broadly one-note, this is still a fine-tuned production that runs like clockwork.The cast of 11 – about half the size of the musical’s original Broadway run in 2000 – is packed with West End talent for this long-awaited London premiere. It’s just a shame they’re working with such flimsy material. (Holly O'Mahony)
Yes, yet another adaptation of Charlotte Brontë’s 1847 novel. They’re like number 11 buses at the moment.This musical version is imaginatively staged with an ensemble of nine from which most of the roles emerge. They form some interestingly choreographed group shapes when physical theatre takes over at, for example, the moment when Mr Rochester (Ashley Gilmour – fine tenor voice) falls off his horse.Charlie Burn is suitably passionate and feistily determined as the adult Jane and it’s a strong idea to have her and her child self sometimes on stage at the same time because it adds a multidimensional nuance to the characterisation. [...]Otherwise the production founders for the oddest of reasons. It tries to adhere too closely to the novel. A surprising amount of the dialogue is pure Charlotte Bronte. Normally I’d applaud that, but here it feels like a constraint as if John Caird (book, additional lyrics, co-director with Megan McGinnis) can’t quite bring himself to reinvent it. It is, though, a good idea to conflate Mrs Reed’s death scene with Jane’s meeting with St John Rivers. It enables the plot to cut to the chase more seamlessly than usual.There is a problem too with the ensemble concept. Between them they take so many roles that I suspect if you didn’t know the novel intimately you could easily lose track of who is who and what’s going on – which is not to say that each of them isn’t doing a decently competent job as whichever character they are presenting at any given moment.Brontë wrote Jane Eyre as a first person narrative and this production attempts to retain that but gets it jarringly wrong. From time to time the ensemble becomes a quasi Greek chorus voicing Jane’s memories in statements, spoken in turn. It doesn’t work at all if Burn and/or Emily-Rose is on stage and silent. Jane Eyre almost more than any other character in fiction can, and should, speak for herself. If she doesn’t the whole point is lost. (Susan Elkin)
La cara europea de las Jornadas del Cómic “Villa de Avilés” la completaron ayer, por un lado, la francoargentina Paulina Spucches y, por otro, el español Rubén Fdez. La primera es la autora de “Bronteäna” y también de “Vivian Maier. En la superficie de un espejo”: por un lado, la historia de la tercera de las Brontë -la primera fue Charlotte, después vino Emily y, al final, llegó Anne- [...]Spucches, cuando tuvo que explicar por qué eligió a Maier y a la pequeña de las Brontë, responde que Maier “ahora sí que es reconocida”, pero que eso no sucedió siempre. “Ella trabajó, digamos, entre las sombras, sin mostrarlo a nadie”, señaló la francoargentina. Lo de Anne Brontë, lo admitió la creadora, viene de un empeño por promover “una visibilización” de una escritora envuelta en los siglos victorianos. “Vi a Maier en un mundo blanco y negro, Anne Brontë en algo muy victoriano, muy cerrado, con poca emoción, y me gusta la idea de poner movimientos y colores a esas vidas: tener un diálogo a través de la historia con esos personajes y me emociona mucho poder compartirlo con los lectores para quizás despertar un deseo en ellos y ellas de aprender más sobre esas historias”. [...]Spucches, cuando tuvo que explicar por qué eligió a Maier y a la pequeña de las Brontë, responde que Maier “ahora sí que es reconocida”, pero que eso no sucedió siempre. “Ella trabajó, digamos, entre las sombras, sin mostrarlo a nadie”, señaló la francoargentina. Lo de Anne Brontë, lo admitió la creadora, viene de un empeño por promover “una visibilización” de una escritora envuelta en los siglos victorianos. “Vi a Maier en un mundo blanco y negro, Anne Brontë en algo muy victoriano, muy cerrado, con poca emoción, y me gusta la idea de poner movimientos y colores a esas vidas: tener un diálogo a través de la historia con esos personajes y me emociona mucho poder compartirlo con los lectores para quizás despertar un deseo en ellos y ellas de aprender más sobre esas historias”. (Saúl Fernández) (Translation)
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Twenty-one years ago today, on September 10, 2005, BrontëBlog published its first post. Two decades on, it's still going — a quiet, steady record of Brontë news, scholarship, and the occasional strange pop-culture cameo, kept up post by post rather than with any fanfare.
None of it repeats itself, which is probably why the blog hasn't run out of things to say. Here's to another year of paying attention to it.
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Zoom Shakespeare Productions presentsA World-Premiere Adaptation of Jane Eyre by Charlotte Brontë.Written by Tanya Terry;Directed by Andrew RoblyerSeptember 4 - 13, 2026Matchbox 1, Midtown Arts & Theater Center, 3400 Main Street, Houston, TX 77002You know the story, but you haven’t felt it like this. Step into the haunting, deeply intimate world of Thornfield Hall. Through stunning projections and evocative movement, this bold adaptation explores Charlotte Brontë’s timeless romance through the lens of Jane’s own artistic spirit—the very force that sustains her. Written by Tanya Terry and directed by Andrew Roblyer, this world-premiere production charts the quiet fire of a woman claiming her autonomy and the magnetic bond she shares with Edward Rochester. Artistic Director Rebecca Bernstein stars in a spellbinding experience.
Thornfield is a delightfully well-directed, well-acted, and well-executed adaptation of Jane Eyre. All the elements are there to make a wonderfully realized gothic romance, and some new flourishes will greet audiences as well. It is painstakingly faithful to the book, save for some extra beats that make Jane a more modern-minded woman. Rebecca Bernstein’s performance is wonderful and a career-high for her so far. Luke Hales is the right Rochester, and Todd Thigpen is a delicious Mason. The only quibble I have is that Tanya Terry’s script loves the source so much that I am not sure it knows where to trim for theatrical timing. Fans of the book will love the attention to detail, but I fear less literary folks may find it runs long. It’s certainly a lot at about three and a half hours in length, but when you have something this exquisite, you don’t mind as much. Jane’s road to real romance is worth the wait. Reader, I married this show. (Brett Cullum)
10th of September 2026, 6.30 pmA quiet, simple session of guided meditation, somatic therapy, and the gentle practice of letting go.Do you feel like your nervous system is constantly on high alert? Have you been carrying a quiet heaviness, rushing from task to task without a moment to simply stop and breathe? Is there something holding you back, and do you feel that now is the right time to let it go?Join me at the Brontë Birthplace in Thornton for a beautifully held, intentional one-hour experience in a small, private group of just six people. This evening is specifically designed to help you step out of the restraints and give your body the safety it needs to rest, reset, and clear away the heavy weight that no longer serves you.
Sunday 13 September: 1100-1600The historic house on Market Street in Thornton is well known as the birthplace of the Brontës, but what happened to it after they moved? Uncover the house's long history of being the local family-run butcher's shop in our exclusive exhibition.Discover the remarkable story of one of Thornton's most important historic buildings and explore its many different lives.From Brontë family home to village butcher's shop, visitor attraction and café, community-owned heritage site and restored Brontë Birthplace, this special drop-in exhibition explores the history of the building and the people who have helped shape its story.Through photographs, plans, memories and material from the restoration project, discover what happened to the building after the Brontë family left Thornton.Explore its later life as a working butcher's shop, followed by its time as a visitor attraction under Barbara Whitehead in the 1990s and early 2000s, and its later life as Emily's Café from 2014 to 2022.The exhibition then follows the building into community ownership and the ambitious restoration project that transformed an empty and neglected building into the Brontë Birthplace visitors' experience today.Discover the challenges, discoveries and community effort behind the restoration and learn how this remarkable building continues to evolve and serve a new generation of visitors.The exhibition is available to explore at your own leisure throughout the day, with Thomas Haigh, Vice Chair and Marketing & Audience Development Lead, available to answer questions and share stories from the restoration project.
26/09/2026 6:30 PM - 9:00 PMJoin us for our September’s Supper Club with a French Themed Supper Evening at the Brontë Birthplace with a special guest chef.Dine where the Brontë family once dined before and why not spend a summer evening at the Brontë Birthplace with our special Brontë Birthplace Supper. Enjoy delicious seasonal food in the unique surroundings of the historic house, accompanied by warm hospitality and the chance to experience the Birthplace after hours.Whether you’re celebrating a special occasion or simply looking for a memorable evening with friends and family, our Brontë Birthplace Supper promises great food, wonderful company and a truly distinctive setting. Advance booking is essential.Price: £35, £10 deposit required for booking and the outstanding cost taken on the night.
Garden designer Brian Roberts has won an award for an amazing garden inspired by Wuthering Heights and the moorland landscapes of Brontë country.Brian, who runs Patterned Earth in Netherton, took a little piece of Yorkshire to the prestigious Belvoir Castle Flower & Garden Show in Leicestershire.His show garden called Weathering Heights won the Duchess of Rutland Cup after being named winner of the show’s Border Competition.The garden took its inspiration from the exposed landscapes of the Yorkshire uplands: dry-stone walls, moorland planting and the way plants and wildlife respond to sometimes unforgiving conditions.At its heart is a dry-stone wall that creates contrasting microclimates, with cooler, shaded and more sheltered conditions on one side and warmer, nectar-rich planting on the other. Gaps within the wall allow insects and other wildlife to move through the garden.Brian said: “I wanted to take a little piece of the landscape I know and love in Yorkshire to Belvoir.“The moors, dry-stone walls and plants that somehow thrive in quite unforgiving conditions have always fascinated me.“Weathering Heights was a playful nod to Wuthering Heights, of course, but the ‘weathering’ was important too. (Martin Shaw)
Although the relationship between siblings is not the sole focus of the novel, the work presents multiple models of family relationships. It highlights the impact of cruelty and deprivation on human character, contrasted with the need for love and belonging. (Medhat Elsheikh)
Paula Rego: Visions of English Literature explores three of the acclaimed Portuguese-British artist's most ambitious and profound series of prints, inspired by nursery rhymes, JM Barrie's Peter Pan and Charlotte Brontë's Jane Eyre. (...)From menacing creatures etched into life from children's nursery rhymes to near hallucinatory depictions of Neverland from Peter Pan and the power-based, tumultuous relationships Brontë described in Jane Eyre, Rego's prints tell stories which combine fantasy and imagination, innocence and cruelty, to explore the complexities of life in all its strangeness and mystery.
No visit to the Peaks would be complete without a stop at the village of Hathersage, home to a heated open-air pool. It’s an idyllic spot with a literary legacy; its rugged landscapes inspired Jane Eyre (there’s even a Jane Eyre walking trail), and you can visit the alleged grave of Little John, Robin Hood’s second-in-command, whose “little” moniker is actually an old-school dad joke in reference to his colossal height. (Jake Hall)
Sam and Mia chat to award-winning historian, broadcaster and author Dr Anthony Delaney! Anthony holds a PhD in 18th-century social and cultural history and co-hosts History Hit's podcast After Dark. His debut book Queer Georgians was published in September 2025.This episode takes us to Patrick's roots in Ireland; we discuss the country he left behind, the Brontës' relationship with their Irish heritage and the catastrophic events of The Great Famine in the late 1840s...
There are some aspects where the musical doesn't quite work as well from an adaptation standpoint, either straying from the source material or too conscious of its modern audience. Its core message of being "brave enough for love", expressed in the final musical number, feels a tiny bit more moralising than Brontë's novel, which is preoccupied with a woman's search for identity and personal freedom outside the bounds of social barriers. The musical also sidesteps some of the uncomfortable implications around Bertha Mason, who has regularly been assumed to be a woman of colour by many literary scholars, by casting a white actress (Hannah Lindsey) in the role - though ironically, her brother Richard Mason is played by a black actor (Jonathan Andrew Hume), muddying the waters slightly around what the production was trying to imply.Regardless, where the musical succeeds is in capturing the spirit of Brontë's novel through its aesthetics, musical style, and the cast's portrayal of its often complex characters. What emerges is something quite lovely: hauntingly beautiful in places, emotionally devastating in others. (Shehrazade Zafar-Arif)
The strong ensemble cast is slick and assured, shifting effortlessly between multiple roles. Charlie Burn makes a compelling Jane, balancing quiet determination with moments of defiance, with a voice that soars like a bird. Ashley Gilmour’s Rochester brings brooding charisma and emotional turmoil, with a richly sonorous voice. Isabelle Methven shines in the contrasting roles of saintly Helen and spirited Bessie, while Emily-Rose Samuel (sharing the role with Poppy Jason) impresses as Young Jane/Adele, combining a bright voice with remarkable maturity.After finally crossing the Atlantic, Caird and Gordon’s ‘Jane Eyre: A Musical’ captures Brontë’s spirit, even if it doesn’t quite match the novel’s force. Still, its ghostly atmosphere and strong performances make it well worth a visit. (Hannah Bothelton)
Gordon and Caird’s lyrics pay lip service to Jane’s longing for freedom, her evolving religious faith, and the ways in which her love for the enigmatic Mr Rochester challenges her. But too often these themes are explained to us didactically, or expressed in generic terms (Jane sings at one point of wishing to “go where I am not allowed”, a strangely childish plea). The eventual conclusion, involving Jane’s matured love for Rochester, is a trite romantic comedy ending rather than a spiritual reckoning.This is not helped by some odd pacing choices: the first act ends on a forgettable duet between Jane and Rochester, which offers no real plot advancement and causes an awkward break in momentum. Jane and Rochester’s wedding, interrupted by the revelation that he’s already married, only comes about two-thirds of the way through the show, leaving Jane’s emotional journey to stall at the start of the second act.What Gordon and Caird have succeeded, though, is in creating a capital-R Romantic, almost operatic emotional world for their characters. Their best writing is that which embraces the natural lyricism in Charlotte Brontë’s writing; famous images from the novel, including the string tying Jane and Rochester together, feel made for song. Elsewhere, if the lyrics fall short, the accompanying soundscape builds back the story’s emotional force, tapping into Jane’s sense of fear, isolation or passion at any given moment. (...)This production is not the intellectual powerhouse fans of the novel may come to expect, but it does not hold back when it comes to heightened, moving displays of emotion – obeying not the letter of Charlotte Brontë’s masterpiece, but certainly its spirit. (Clementine Scott)
The music, which is appealingly sung by the ensemble, soars and harmonises nicely, though the songs have a tendency to blend together and the lyrics can’t resist didacticism. It reaches a climax in Jane’s second-act solo “Painting Her Portrait”, which is a powerful song of ideas. Andrew Johnson provides a clean sound design and the seven-piece band, led by Ben Kubiak, is ideally balanced.As Jane and Edward Fairfax Rochester, Charlie Burn and Ashley Gilmour are an appealing pair who share a convincingly yearning chemistry. Unlike their characters, both are conventionally attractive (as is so often the case in adaptations). Burn's Jane feels closer to Belle in Beauty and the Beast than to Brontë's fey, fiery misfit, but she’s a heroine worth rooting for. (...)The first act anticlimactically culminates with Jane and Rochester admitting their feelings to themselves; the fortune teller scene, proposal, wedding, and its aftermath all come in the second half. Evangelical clergyman St John Rivers (Melad Hamidi) is dealt with swiftly and the convoluted “We are actually cousins” business is eliminated, as is the legacy from the long-lost uncle in Madeira.As with most adaptations of classic literature, it’s best enjoyed for what it is, rather than fixating on its shortcomings (even if that can be part of the fun). The book will always be there. Reader, I probably wouldn’t marry this show, but I'd go on a date with it. (Julia Rank)
Gordon’s songs lean heavily on soaring ballads and harmonies, many of which, to be frank, rather blend into each other. There are only so many iterations of Jane’s inner yearnings one needs in order to understand the central point that she’s a woman in love. However, a few of the numbers do make a deeper impression, notably “Painting Her Portrait” and the climactic “Brave Enough for Love”, both of which showcase Burn’s West End calibre vocals (she recently starred in Mean Girls).Although the character arc of Jane never gets its full expression – she feels more Maria in The Sound of Music than fully-fledged proto-feminist literary icon – none of the blame for that can be laid at the feet of Burn, whose intensity is matched by Gilmour’s. They make a superb central pair with chemistry to burn, so to speak (though they’re anything but the ‘plain’ types they claim to be), and are well supported by a multi-rolling ensemble including Isabelle Methven as Jane’s ill-fated childhood friend, Gemma Page as her vindictive aunt, Jonathan Andrew Hume as her sadistic headmaster and Hannah Lindsey as the infamous and ethereal attic-dwelling Bertha. Mention too should go to the accomplished performance of Emily-Rose Samuel (who rotates with Poppy Jason) as both the young Jane and her French-speaking ward. (...)However, although it doesn’t quite convince as an overlooked masterpiece, there is no doubt it has merits, together with some stonking central performances, and is one that musical aficionados won’t want to miss. (Theo Besanquet)
The cast are uniformly excellent throughout. Charlie Burn brings determination and intelligence to Jane, while Ashley Gilmour provides a suitably brooding Rochester. Equally impressive is young actor Emily-Rose Samuel, who, at this performance, effortlessly captured both Young Jane and Adèle with remarkable confidence and presence.This UK premiere tells Brontë’s story with clarity and conviction, supported by strong performances and striking design. Yet despite these accomplishments, it never quite captures the emotional sweep of the great romance at its centre, leaving a production that is engaging, but ultimately less heartfelt than it ought to be. (Greg Stewart)
You can follow the discussion on Theatre Board or Reddit too.
Directed by Alex HuntWritten by Oliver Draiv (among others, we guess)Produced by Phil Viardo, Jeremy Gilbreath (supervising) and Vlad Kumurzhi (associated).Photographed by Eugnee FilsonWith: Jean Evans (Cathy Earnshaw), Dante Ayala (Eddie Linton), Ehan Vaughan (Heathcliff Earnshaw), Gabriel Quintella (Hindley Earnshaw), Maia Sky (Bella Linton), Lane Wray (Patrick Earnshaw), Sofia Shakarian (Young Cathy), Jameson Barros (Young Heathcliff), Jax Binkert (Young Hindley).
Jane EyreWe wonder who this Father Jameson may be.
Directed by Jerry Bradford
Written by ???
Produced by Phil Viardo, Alex Hunt (executive), Jeremy Gilbreath (supervising) and Vlad Kumurzhi (associated).
Photographed by Benjamin Mahl
With Raina Silver (Jane Eyre), Tyler Harlow (as Edward Rochester), Eric Roberts (as Father Jameson), Alana Tilton (Bertha), Esmeree Sterling (Georgiana), Derek McDonnell (Richard Mason), Emily Lisa Jones (Blanche Ingram), Yva Leroy (Adele),
The classics got hotter. Vertical dramas from stories you already love. Open the app. For the plot.
The Brontë Parsonage Museum has launched an exhibition marking the 10th anniversary of the BBC drama 'To Walk Invisible', which told the story of the Brontë sisters.Located at the Parsonage in Haworth the exhibition will run until December 31, 2026. It explores the making of the 2016 BBC drama, featuring costumes, props, set designs, and production notes.Mia Ferullo, digital engagement officer at the Brontë Parsonage Museum, said: "Over the past ten years To Walk Invisible has become a film cherished by many Brontë fans."It offers an authentic, well-researched interpretation of the sisters and their lives."We wanted to celebrate this anniversary by showcasing the creative team's process including a behind the scenes look at the screenplay, set design and costume design."The drama starred Finn Atkins as Charlotte Brontë, Charlie Murphy as Anne, Chloe Pirrie as Emily.Four original costumes designed by Tom Pye are on display in the museum’s period rooms, including a dress for each sister placed around the dining room table where they famously wrote their novels.An additional costume for Emily is exhibited in the kitchen.Ms Ferullo said: "In the dining room, we have Emily's lightning print dress, worn in the film by Chloe Pirrie."There is a story that while shopping in Bradford, Emily had selected a material with a lightning print on it, sadly the original dress no longer exists."The costume designer Tom Pye liked this anecdote and decided to recreate it for the film."She believes the costumes help visitors imagine the sisters as they once were.Ms Ferullo said: "I think displaying the costumes can help visitors visualise the family within the space, you can imagine the sisters walking around the dining room table discussing their writings."The cast were all similar heights to the original Brontë family, so you also get an idea of the height difference between them."Other artefacts from the drama on display include bonnets, Branwell’s top hat, and his nightshirt.Visitors can also see a recreation of the "Gun Group Portrait" of the siblings, concept art by set designer Grant Montgomery, and a prototype model of the Parsonage set.Ms Ferullo talked about director Sally Wainwrights aim to present the Brontë family in a way they hadn't been portrayed previously."She wanted to portray them as a real family, challenging some of the myths around them."She praised the production team’s dedication to authenticity, noting that Mr Montgomery measured every flagstone in the original Parsonage to ensure the replica set was as accurate as possible.It also sits alongside the museum’s ongoing exploration of Brontë screen adaptations.Props from Emerald Fennell’s forthcoming version of Wuthering Heights are already on display, and the museum has previously hosted exhibitions on cinematic interpretations of the Brontë family’s work from around the world. (Amelia Short)
Based in her studio in Pateley Bridge, the local artisan has already spent several years developing a single, monumental piece. She intends for it to eventually earn that prized status of a family heirloom through what she describes as the slow process of thinking.Joanne Gowan:I had the idea to produce a Wuthering Heights piece about two years ago when I moved to North Yorkshire, celebrating the first connection I had with the area from reading the Brontë novels from the age of 10.This Emily Brontë piece sort of ate into my subconscious on so many levels: spiritual ideas, eternal love, passion, the wild of the landscape, and the contrast of good and evil, all wrapped into one.When Gowan joins a curated group of the UK’s top contemporary jewellers and silversmiths for the three-day Acquire selling show at Ampleforth Abbey, visitors will have a rare, exclusive opportunity to view her work-in-progress. The creative journey behind the piece spans from the rugged Yorkshire moors to the historic gemstone cutting centers of Germany.Joanne Gowan:Initially, I took some images from illustrations of Cathy in early book editions and contacted my gem dealer in York, R.M. Weare. They sourced a highly talented gemstone carver in Idar-Oberstein, Germany.The rock crystal carving then took over six months to develop, with lots of input back and forth during the cutting process.Meanwhile, I re-read the novel several more times to narrow down the exact elements I wanted to include. After that, a lot of the designing happens in my head. Over the months I get a clear mental vision, and then on the right day, I sit down and work it all out on paper.The final design is a complex vignette, or picture piece, engineered to be worn as a high-end brooch or pendant, or displayed standalone as a miniature work of art. It captures the haunting, pivotal moment when Cathy appears at the window—a scene that defines the emotional landscape of the entire novel.Framed within a window meticulously carved from soapstone, the structure mimics the box bed window of Ponden Hall near Haworth, widely believed to be Emily Brontë’s real-world inspiration for the scene.Joanne Gowan:Cathy, rendered in rock crystal, will appear to be coming through the leaded glass. The Ash tree leaves knock against the window, representing the moment when Nelly speaks to Heathcliff on the morning of Cathy’s death and he leans against the tree. In the foreground sill is a sprig of Yew with its toxic red berries, representing the bridge between mortal death, endurance, and the supernatural spirit. Alongside it sits a bunch of yellow crocuses—the earliest spring flowers brought to Cathy’s bedside by Edgar Linton, representing renewal and hope. This beautifully ties to the end of the novel, when the children of Cathy and Heathcliff reach an eventual mutual connection.The breath-taking final piece will be constructed from a rich palette of premium materials: rock crystal, soapstone, sterling silver, 18ct yellow and red gold, black rhodium plating, platinum, vivid rubies, and yellow sapphires. [...]The original design sketch and the German-carved rock crystal component will be publicly displayed for the first time at the Acquire event, where the finished masterpiece will be open for official commission.Event DetailsThe design sketch and rock crystal carving will be on display at the annual Acquire exhibition, curated by Joanne Gowan.Venue: Alban House, Ampleforth Abbey estate, North York Moors, YO62 4ENDates: Friday 18th to Sunday 20th September 2026Opening Times: 10:00 AM – 5:00 PM dailyAdmission: Free entry to the exhibition. The daily specialist guest talks curated by Susan Rumfitt are ticketed.
EXCLUSIVE: Literary classics such as Wuthering Heights and Jane Eyre are getting the microdrama treatment.This is through the latest entrant into the microdrama field, LoveHit, an L.A.-based studio and app focused on originals based on classic literary adaptations.LoveHit, which launches this month, has a vertical video slate built entirely from classic novels in the public domain. At launch, this will comprise Wuthering Heights, Pride and Prejudice, Jane Eyre, The Great Gatsby and Beauty and the Beast. More are in post-production, including Dangerous Liaisons, The Scarlett Letter and Les Misérables.Each has been written, shot and edited as both a vertical series and a horizontial features, with the latter being readied for TV and streaming buyers worldwide attending MIPCOM on October 12-15 in Cannes. Series will last roughly 50 episodes running between one and three minutes, with the films at 90 minutes.Actors appearing in the titles include microdrama regulars Meg Bush, Tyler Harlow and Sophie Swiszcz, along film, television and stage stars. These include Academy Award nominee Eric Roberts, who appears in Jane Eyre, which stars Raina Silver and Tyler Harlow. Ethan Vaughan and Jean Evans will star in Wuthering Heights, which is relocated to a present day American ranch. A vertical cut of the show launched on the LoveHit app on August 27 ahead of the full launch. [...]“There isn’t a market in the world where these titles need much of an introduction,” said Lenny Levi, CEO of LoveHit. “Every generation has adapted them, and every generation finds its own reason to connect with them. That’s what makes them evergreen.” (Jesse Whittock)
Finally, sharing a correspondence-based adventure with Anya via the Library’s copy of Charlotte Brontë’s Jane Eyre turned Vikram’s fear of always being alone and never belonging up to 11. (Diana Keng)
The story of correspondence via Jane Eyre appeared in the previous episode, S02E10: And the Heart of a Librarian.
by Mariana Chajon OliverosPivot: Literary Journal, 11(1), 20-25 (2026)AbstractThis is a brief personal essay that critiques Emerald Fennell's adaptation of Wuthering Heights, provides a brief overview of the field of classic novel adaptation over the past thirty years and proposes questions that go outside of the well-known, “how do we create interest?”. In this essay, I consider what the future of film adaptation looks like, and how Hollywood can move towards capitalizing on universal aspects of classic novels, as well as how it can utilize modern systems of knowledge, such as psychology, critical race theory, sexuality and gender studies, to provide an added layer of meaning, or represent what goes unsaid in many works of classic literature. Fennell’s adaptation serves as a jumping-off point to assess the current challenges of literary adaptations, and the novel Wuthering Heights is used as an example for creative ideation.
À travers le destin d’Antoinette Cosway, personnage de Jane Eyre – dont les initiales, J. E., résonnent dans le titre –, Lilia Hassaine explore les mécanismes de l’effacement, de l’enfermement et de la reconquête de soi. En Jamaïque, en 1831, Antoinette Cosway s’éprend d’Edward Rochester, mais l’élan amoureux cède peu à peu la place à la domination et à la violence. Celle que l’histoire a reléguée au silence entreprend alors de reprendre possession de son propre récit.Harper’s Bazaar : Quel a été le point de départ de JE ?Lilia Hassaine : J’ai découvert Jane Eyre de Charlotte Brontë à l’adolescence. À l’époque, j’y ai lu exactement ce qu’on m’avait appris à y voir : l’histoire d’amour entre une jeune orpheline devenue gouvernante et le maître du manoir anglais où elle travaille. Mais au moment du mariage, elle découvre qu’une femme est séquestrée dans ce manoir et que cet homme est déjà marié avec celle-ci. Lui affirme que son épouse est folle, dangereuse, qu’il l’a enfermée pour son propre bien ; en somme, il se présente comme la véritable victime de l’histoire. Et puis je l’ai relu il y a deux ans, et je n’ai pas lu le même livre. Mon regard de lectrice s’était complètement déplacé.H.B. : Dans quel sens ?L.H. : Je me suis demandé ce qui avait changé pour que je ne voie plus que cette femme, au point qu’elle devienne une obsession. Elle occupe très peu de place dans Jane Eyre. Elle est décrite comme une créature sauvage, menaçante, avec des traits qui relèvent parfois d’une représentation profondément marquée par les préjugés raciaux de l’époque. À la relecture, de nombreux éléments m’ont mise mal à l’aise. J’ai eu envie de comprendre cette femme, de lui redonner une histoire. Qu’avait-elle vécu avant d’être réduite à cette figure monstrueuse ? Cela a fait naître une autre réflexion. Si mon regard avait changé, c’était sans doute parce que mes propres expériences avaient transformé ma manière de lire. Mais ce déplacement tenait aussi à quelque chose de plus collectif : l’époque elle-même avait changé, et avec elle les questions que nous posons aux textes.H.B. : Vous écrivez : “Cette œuvre ne fut pas l’œuvre d’un seul homme ; il faut toute une société pour rendre possible une telle entreprise.” Cette phrase semble entrer en écho avec des réalités très actuelles. Aviez-vous cette dimension contemporaine en tête dès le début de l’écriture, ou s’est-elle imposée progressivement ?L.H. : Lorsque j’ai écrit JE, les affaires Bruel ou Lyhanna n’avaient pas encore éclaté, mais cette question me révoltait déjà. Pour moi, les affaires Epstein et toutes les autres n’ont jamais été des cas isolés : elles révèlent un problème systémique, profondément sociétal. On les a longtemps réduites à des histoires d’intimité, au nom de la vie privée, comme si s’y intéresser relevait de l’intrusion. Or c’est à l’échelle de la société qu’il faut penser ces violences. Elles ne peuvent exister sans une forme de complicité collective : il y a ceux qui savaient, ceux qui se sont tus, ceux qui ont préféré regarder ailleurs. Aujourd’hui, nous comprenons mieux certains mécanismes de ces violences, mais il reste beaucoup à faire. (Florine Delcourt) (Translation)
8 'Wuthering Heights' (1847)Some people might try telling you that Wuthering Heights is a romantic novel, but sometimes, some people are wrong. There are feelings of longing and desire here, but the passionate stuff is also destructive, and Wuthering Heights is more focused on looking at the lingering effects of trauma, alongside exploring prejudice, class, inequality, and all sorts of other things that aren’t particularly romantic.There are some adaptations of Emily Brontë’s source material that lean into romance, or have things play out as a love story of a bittersweet nature, but in the book, there is not much love, traditional or otherwise. In its place, you do get a ton of sadness in Wuthering Heights, and it’s remarkable how much of that emotional devastation still packs a punch close to two centuries on from the novel’s publication. (Jeremy Urquhart)
9. Jane Eyre from Jane EyreFor those who want their Halloween costume to look like it belongs in a moody period drama, say hello to Jane Eyre. Jane’s wardrobe is understated, which actually makes this a pretty easy costume to recreate. Look for a long black, gray, or dark-colored dress with a high neckline and simple silhouette. Add a book, a ribbon, or an old-fashioned-looking bag, and you’re ready to wander around Halloween parties looking like you’ve just escaped Thornfield Hall. (Danielle Okogho)
As I stood, packed into a sea of commuters, a man in full tweed, thick-rimmed glasses and freshly polished brogues stepped onto the tube/bus beside me and pulled out a battered, Penguin vintage paperback. It could have been a novel such as Jane Eyre, but instead he pulled out the Holy Bible. (Iona Lowe)
by Ouana Alassane Sekongo, University Félix Houphouët-Boigny, Côte d’Ivoire, Wandja Fatoumata Tuo, Université Alassane Ouattara, Côte d’Ivoire, Omar Ndiaye, Université Cheik Anta Diop, Sénégal, Ataféї Pewissi, Université de Lomé, TogoRevue Internationale de Linguistique Appliquée, de Littérature et d’Education, Volume 9 Numéro 2 – Juin 2026This paper investigates the complex interplay between love, trauma and revenge in EmilyBrontë’s Wuthering Heights, focusing on the character of Heathcliff. It shows how desire forvengeance against the offenders intertwines with strong love. Through a psychoanalytic lens and close reading of the text, the investigation demonstrates that Heathcliff’s trauma and self-immolation – both emotionally and physically – serve as a manifestation of his obsessive longing for Catherine. Ultimately, the study found that revenge, rather thanbeing a mere act of malice, can be a misguided attempt to reclaim lost love, highlightingthe tragic consequences of intertwining passion with vengeance. It indicates thatvengeance against those who hate us does not attract human heart, but it only leads toone’s own destruction. Therefore, the article upholds that patience, redemption andmutual understanding remain the bedrocks of any truthful and lasting human relationship.
John Caird and Paul Gordon's 2000 musical version of Jane Eyre is getting a long-awaited U.K. debut at Southwark Playhouse Elephant, and Playbill has a first look at the new production. Performances began August 28 and continue through October 24. Opening night is September 8. (...)The new staging is co-directed by Caird (Les Misérables) and Megan McGinnis, reuniting after the latter starred in Caird's Daddy Long Legs musical. The production is being produced by Adam Blanshay Productions in partnership with the work's original Canadian producers, David and Hannah Mirvish.The cast is led by Charlie Burn as Jane and Ashley Gilmour as Rochester, with Claire Greenway as Abbot and Grace Poole; Melad Hamidi as St. John and Lord Ingram; Connor Wood as John Reed and Vicar; Jonathan Andrew Hume as Brocklehurst and Mason; Izzi Levine as Agnes, Leah, Jane's Mother, and Mary Ingram; Hannah Lindsey as Scatcherd and Bertha Mason; Isabelle Methven as Helen Burns and Bessie; Gemma Page as Reed and Fairfax; Eve Shanu-Wilson as Blanche and Sophie; and Poppy Jason and Emily-Rose Samuel as Young Jane and Adele. Casting is by Sarah-Jane Price.The musical premiered in Toronto in 1996, ultimately making it to Broadway in 2000, bringing Brontë's classic gothic romance to the world of musical theatre. The work would go on to earn five 2001 Tony Award nominations, including Best Musical. A starry concert production brought the musical back to NYC with a Manhattan Concert Productions performance at Lincoln Center's David Geffen Hall starring Erika Henningsen and Ramin Karimloo. News of this production also comes just after the launch of a new chamber revision of the musical with theatrical licensor Music Theatre International. Having premiered in 2024 at North Carolina's Theatre Raleigh with a smaller orchestration, reduced casting needs, and changes to the lyrics and book, this edition likely served as the basis for the U.K. premiere at the 310-seat venue.“I’m so pleased to have the opportunity to explore a new version of Jane Eyre in the beautifully intimate Southwark Playhouse Elephant," said Caird in an earlier statement. "It's always a pleasure to work on this timeless romance but all the more exciting to be collaborating with the brilliant and innovative Megan McGinnis as co-director."“Charlotte Brontë’s masterpiece is not only a landmark portrayal of a strong female protagonist, but a story that sends audiences out of the theatre feeling better about their own lives than when they walked in," added Gordon.The production features choreography by Georgina Lamb, music direction and supervision by Ben Kubiak, set and costume design by Morgan Large, sound design by Andrew Johnson, and lighting design by James Whiteside. (Logan Culwell-Block)
by Sajal Hossain DhalyBRAC University2026The purpose of this research is to discern whether Jean Rhys’s Wide Sargasso Sea and Abdulrazak Gurnah’s Paradise are “writing back” to the English and European colonial empires and their literary canons, specifically to Charlotte Brontë’s Jane Eyre and Joseph Conrad’s Heart of Darkness. Foundational postcolonial literary theories from books and academic journals provide context to the efficacy of Rhys and Gurnah’s writing back: such as Edward Said’s Orientalism, Gayatri Chakravorty Spivak’s idea of the Subaltern, and Homi K. Bhabha’s concept of mimicry. Furthermore, the research also relies on Chinua Achebe’s theory of abrogation and appropriation of the English language as a means of resistance and taking back agency by the colonised subjects. Upon assessing these books, book chapters, and articles, the research finds that Rhys and Gurnah are in fact not writing back to any colonial empire or writer; Rhys writes for a feminist Creole identity, and Gurnah writes to help establish the African literary tradition.
Bringing Charlotte Brontë's Jane Eyre to the stage is no easy feat, squeezing in all the twists and turns of the classic novel into something an audience can sit through in one evening.But Conn Artists Theatre Company's latest production at Theatre Royal Winchester offers an engaging retelling of one of literature's most enduring love stories.This adaptation remains faithful to the source material, following Jane's journey from an unhappy childhood to her employment as a governess at Thornfield Hall, where she meets the brooding and enigmatic Edward Rochester.The first half is a little slow-going as the production carefully establishes the characters and their relationships. While it takes time to build momentum, the groundwork pays off as the drama unfolds.After the interval, the pace quickens considerably, and the audience is drawn into a gothic tale packed with romance, secrets and heartbreak. Long-hidden truths emerge, relationships are tested, and emotions run high as the story races towards its dramatic conclusion.Evie Depledge delivers a convincing performance as Jane Eyre, capturing both the character's quiet determination and emotional strength. Ross Muir is equally compelling as Edward Rochester, bringing passion and intensity to the role while conveying the character's troubled past and inner conflict.The cast makes effective use of a relatively simple set, allowing the performances and storytelling to take centre stage. Atmospheric lighting and clever staging help create the moody gothic atmosphere that fans of the novel will recognise.The production reaches its peak during the fiery climax, with the drama surrounding Thornfield Hall providing some of the evening's most memorable moments. The final image of Jane and Rochester walking away together against the backdrop of a burning house is both striking and moving, bringing the story to a satisfying close.While the first half occasionally lacks urgency, the gripping second act more than makes up for it. With its mix of love, loss, twists and redemption, this production successfully brings a classic story to life for a modern audience. [...]For lovers of classic literature and period drama, this adaptation is well worth catching while it is on the road. (Kimberley Barber)
Dans son quatrième roman, Lilia Hassaine s’attaque à l’un des mythes de la littérature victorienne : Bertha Mason, l’épouse séquestrée d’Edward Rochester dans « Jane Eyre ». Un acte de réparation littéraire tout autant qu’une radioscopie de l’emprise conjugale.En 1847, Charlotte Brontë dessinait dans « Jane Eyre » les contours d’une créature terrifiante : la « folle du grenier ». Tapie dans l’ombre du manoir de Thornfield Hall, Bertha Mason incarnait l’obstacle à la romance de l’héroïne. Un siècle plus tard, en 1966, Jean Rhys accomplissait un premier geste d’affranchissement avec « La Prisonnière des Sargasses », en restituant son nom créole – Antoinette Cosway – et en retraçant son enfance jamaïcaine ainsi que son déracinement. Lilia Hassaine choisit, quant à elle, de s’immerger au cœur de la matrice du drame : la relation avec Rochester et la mécanique du dessaisissement de soi. Bien plus qu’une simple relecture d’un classique, « Je » offre une subtile analyse de l’emprise et du « gaslighting ». Le récit s’ouvre en Jamaïque, alors que l’esclavage touche à sa fin. Antoinette y croise d’abord le regard d’Edward Rochester. Lors d’un bal en 1831, une scène de séduction à la sensualité maîtrisée scelle le piège. Le futur maître de Thornfield lui offre une part de gâteau au citron : « J’ouvris les lèvres. N’opposais aucune résistance. Le glaçage fondit sur ma langue, sucré, acide, et pour la première fois je vis Edward, le visage nu, dépouillé de son masque sévère. »L’attirance des corps fait vite place à la jalousie, la possession, puis au mépris. Le premier meurtre est de nature symbolique. En rentrant en Angleterre, Rochester lui confisque son nom : « Le dépouillement patronymique constitue le premier acte d’effacement : en rebaptisant arbitrairement son épouse Bertha, le maître des lieux lui retire son ancrage créole pour la réduire au silence. » Rochester ne se contente pas d’enfermer son épouse : il détruit patiemment son assise identitaire. Le doute inoculé finit par dissoudre toute certitude intime.Lilia Hassaine montre avec une acuité toute contemporaine les ressorts de la manipulation mentale. Le véritable effroi ne provient pas tant de la séquestration physique que du silence complice de la communauté. De la haute société coloniale jusqu’à la domesticité anglaise, chacun observe, se tait et valide l’arbitraire sous couvert de préservation des convenances. La violence apparaît alors dans toute sa dimension systémique : elle repose sur l’indifférence collective. [...]Lilia Hassaine confirme son talent de romancière par sa calme maîtrise des phrases, tantôt doucement poétiques, tantôt couperets, comme mimétiques d’un étouffement progressif. Un roman qui se lit d’une traite, solidement structuré, fort et obsédant. Le lecteur, avide, est happé dans l’engrenage. L’une des grandes réussites de la rentrée qui devrait séduire autant le public que les jurés des prix littéraires. (Translation)
Saban Films released the first trailer for Wuthering Heights: House of the Damned on September 1, 2026, ahead of its October 16 VOD and digital debut — a horror adaptation that strips Emily Brontë's 1847 novel of all romantic ambiguity and replaces it with a literal agenda: ritual murder, a ghost that hungers for a living body, and a visitor who slowly loses his mind. The film arrives in a specific scientific moment. A peer-reviewed study published in Frontiers in Behavioral Neuroscience in April 2026 confirmed that infrasound — sound below human hearing — raises cortisol levels and shifts mood, offering a plausible psychoacoustic mechanism for exactly the kind of environmental deterioration the film dramatizes. Meanwhile, the State of Brain Emulation Report 2025 concluded that the question of whether consciousness can survive substrate transfer — whether a person can truly migrate from one body to another — remains unanswered, with a minimum of thirty to forty years of research still needed. Gothic horror has always been the cultural form we use to hold open questions that philosophy and science haven't closed. In 2026, the specific questions House of the Damned dramatizes are being asked in actual laboratories, and the answers are not in yet. (...)Wuthering Heights: House of the Damned is the first entry in a planned slate of literary horror adaptations called "Gowns and Gore," produced by ScaryContent at the 2025 AFM (Munich/Los Angeles) and distributed by Saban Films. Director Becca Hirani — also credited as Rebecca J. Matthews — and screenwriter Liana Failla keep the novel's skeleton but literalize everything Brontë left ambiguous. In Brontë's original, Catherine's ghost appears to Lockwood in Chapter 3, her child-hand clawing at the frosted window — a single unnerving scene that the novel never fully explains. In Hirani's version, that ambiguity becomes an engine. Catherine's ghost is not incidental to the story; she is its driving force, and Heathcliff is her instrument.Can Consciousness Migrate? Gothic Horror's Central Question Is Now a Research ProgramHeathcliff is not mourning Catherine. He is running what the film's synopsis describes as a deliberate operation: feeding her ghost enough "bloodlust" through human sacrifice to accumulate the force necessary for her to occupy Lockwood's living body. This is soul transference treated as a directed technical project — with a goal, a method, and a willing technician.The question of whether consciousness can transfer between substrates is among the most actively contested in contemporary neuroscience. The State of Brain Emulation Report 2025, authored by Zanichelli et al. and released on arXiv (2510.15745), assessed twenty years of progress in three areas — neural recording, brain structure mapping, and computational modeling — and found that the field has advanced substantially while remaining at least thirty to forty years from human-scale application. Near-complete connectomes now exist for zebrafish larvae and fruit flies. For humans, the gap is measured in orders of magnitude: human brains contain roughly one hundred billion neurons; current technology can simultaneously monitor thousands.The deeper problem is not scale but continuity. Even if a complete brain scan were possible, the "continuity problem" remains unresolved: would the entity instantiated on a new substrate be the original person, or a copy who merely believes they are? This is precisely the philosophical question Brontë staged in her novel, and precisely the question that makes Heathcliff's project horrifying rather than tender. He is attempting a transfer whose success cannot be verified from the inside.What Is the Real Science Behind Haunted Houses?Lockwood's trajectory in the film — progressive illness, delusion, altered perception — maps onto a well-documented real-world phenomenon that psychologists and neuroscientists have studied with increasing rigor. [...]Gothic Literature as Cultural Technology: Why Brontë Wrote This Story in 1847The literary scholar Jerrold E. Hogle, in the Cambridge Companion to Gothic Fiction, identifies a defining structural feature of the genre: the depiction of horrifying events in Gothic fiction "often serves as a metaphorical expression of psychological or social conflicts." Gothic is not escapism. It is the cultural form human societies have repeatedly reached for when they need to express something that cannot be stated in ordinary social registers.Ellen Moers coined the term "Female Gothic" in her 1976 study Literary Women, specifically identifying Brontë's Wuthering Heights as a prime example of Gothic fiction deployed to give form to female experience that Victorian propriety made unspeakable. Moers argued that Catherine's love for Heathcliff should be understood as an expression of pre-adolescent freedom and erotic attachment that the social architecture of 19th-century England had no legitimate channel for. The Gothic frame is what allowed Brontë to depict this love at all — and to show its consequences — without either endorsing or condemning it. The horror is the form the truth takes.Emily Brontë wrote her novel under the pseudonym Ellis Bell — a woman writing in an era when female authorship faced institutional skepticism — and the Yorkshire moors she depicted were her actual environment, not metaphor. Scholar Carol Senf has argued that Gothic literature "was a counterbalance produced by writers and thinkers who felt limited by [a confident rationalist worldview] and recognized that the power of the past, the irrational, and the violent continue to sway in the world."House of the Damned sits within a contemporary tradition that film scholar David Church, in Post-Horror: Art, Genre and Cultural Elevation, describes as merging "art-cinema style with decentered genre tropes, privileging lingering dread and visual restraint over audiovisual shocks and monstrous disgust" — though ScaryContent's own "Gowns and Gore" branding suggests a franker relationship with spectacle. The production company describes its slate as the systematic literalization of the darkest energies inside canonical 19th-century novels. House of the Damned is the argument that what was always inside Brontë was horror — that the Gothic frame was not decoration but container, and that the film is showing what happens when you take the lid off.The film was produced in the Yorkshire region near the actual moorland landscape that inspired Brontë — a production choice that activates what theorists of place call geopoetic memory: a site-specific emotional charge accumulated through repeated cultural inscription. Filming on these moors does not merely provide scenic authenticity. It claims the location's cultural inheritance. [...]Is Wuthering Heights Actually a Horror Story?This question has a serious scholarly answer. Feminist critic Ellen Moers specifically noted in her foundational analysis that the novel's early readers were struck by what The Athenaeum called "shocking pictures of the worst forms of humanity" and details of "cruelty, inhumanity, and the most diabolical hate and vengeance." Charlotte Brontë, in her posthumous 1850 preface to her sister's novel, asked apologetically: "Whether it is right or advisable to create things like Heathcliff, I do not know."The Gothic genre, as classified in the Cambridge Companion to Gothic Fiction, is characterized precisely by "an environment of fear, the threat of supernatural events, and the intrusion of the past upon the present" — all features of Brontë's novel. The word "wuthering" is etymologically a weather-descriptor: the house itself is defined by atmospheric violence. The ghost of Catherine appears in Chapter 3. Heathcliff's obsession leads to neglect, abuse, and multiple deaths across two generations. What House of the Damned does is answer the Gothic's central withheld question — is the supernatural real? — in a way Brontë deliberately refused to answer. It is not a corruption of the novel. It is a choice to close what Brontë left open. (Maxwell Templeton)
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